Last updated March 2026: I regularly update this guide as new cameras are released and as I spend more time using the models listed below.

If you’re trying to figure out which camera is actually worth buying in 2026, this guide will help. I’ve owned or used every camera on this list, and these are the models I genuinely think offer the best balance of image quality, autofocus, handling, and long-term value.

Rather than just listing the newest or most expensive cameras, I’ve focused on the ones that make the most sense for real photographers — whether you shoot travel, family moments, landscapes, wildlife, or a mix of everything.

Some are APS-C, some are full-frame, and one is Micro Four Thirds. But all of them are capable of producing professional-quality images in the right hands.

Drop a hint: share my Best Gifts for Photographers list with the people buying for you this year — they’ll thank you for making it easy.

OM System OM-1 Mark II – Wildlife Photography Runner-Up

Micro Four Thirds Powerhouse That’s More Than Meets the Eye

Let’s start at the smallest sensor size with the OM System OM-1 Mark II — the follow-up to the excellent OM-1, which itself marked the end of the Olympus name on a camera. On paper, this is the pinnacle of Micro Four Thirds technology. Despite its top-tier feature set, its price falls surprisingly close to other cameras in this roundup.

What you get for that money is seriously impressive: a stacked Micro Four Thirds sensor with fast readout, rapid burst shooting, an upgraded buffer, and genuinely solid autofocus. Add to that some of the best computational photography features available on any camera — all inside one of the most rugged, weather-sealed bodies you can buy.

I own this camera myself . It’s incredibly ergonomic, confidence-inspiring in bad weather, and a lot of fun to use. I’ve shot with it in everything from snow to monsoon-level rain without a single issue. I took it out recently in some horrendous weather here in Scotland and it didn’t flinch for a second.

The 20MP stacked sensor is obviously smaller than the other formats on this list, but image quality holds up well up to ISO 3200 — even ISO 6400 is usable for web and sharing. And here’s the kicker: this isn’t just about image quality. What the OM-1 Mark II really offers is capability.

Practical Power Features

• Dual card slots
• Fully articulating screen
• 5.76M-dot EVF
• Class-leading IBIS

Let’s talk about that IBIS for a second. This is, hands-down, the best I’ve used. I routinely get pin-sharp images at shutter speeds of one second and longer — handheld. That opens creative doors most other systems shut. You can regularly shoot handheld long exposures for water motion, light trails, and street scenes at night — all without a tripod.

Then there are the computational tools:

• Live Bulb and Live Time — lets you preview long exposures while they’re being captured
• Live ND — simulates ND filters by blending exposures
• Graduated ND — a new trick that eliminates the need for physical graduated ND filters
• Handheld High Res Mode — captures 50MP composite files for static scenes

With this setup, I leave my tripod and filters at home more often than not.

Wildlife & Action Bonus

The OM-1 Mark II shines for wildlife photography. It’s fast, small, and pairs beautifully with Olympus’ pro telephoto lenses — like the excellent 300mm f/4 PRO. Nikon’s Z system is the only other setup that offers similarly compact reach with serious quality (thanks to their PF lenses).

OM System even includes pre-capture — a feature that records frames before you fully press the shutter. It’s a game-changer for birds and unpredictable subjects. My own hit rate with this feature easily beat what I managed with a Canon R5.

The Honest Drawbacks

The only real drawback? The Micro Four Thirds sensor. While it’s more than good enough for most uses — and brings real advantages in weight, size, and reach — it can’t quite match larger sensors in tonality, high ISO noise performance, or depth in colour rendering. But for most practical purposes (and certainly for travel, outdoor, or action shooters), it’s more than good enough for most uses.

And if you want the same internals in a smaller, lighter package? Keep your eye on the new OM-3. I have now used mine for some time and you can find the full OM-3 review here.

Buy the OM System OM-1 Mark II if…

Fujifilm X-T5 – Best Camera for Travel Photography

A Photographer’s Camera With All the Right Touches

Next up is the Fuji X-T5. While not technically the flagship of Fujifilm’s lineup — that title goes to the X-H2 and X-H2S — this is the camera I’d pick for pure shooting enjoyment. The X-H2 is similarly priced (slightly more expensive) but offers a completely different experience. The X-H2S, on the other hand, is substantially more expensive and really only worth the extra outlay for specific use cases — like if you need top-tier video specs, the most rugged body Fuji offers, or their fastest sensor. The X-T5 can still handle video well, but if you’re after a general-purpose hybrid camera that covers a wide range of scenarios, the X-T5 offers better value in my opinion.

If you’re after a camera that feels great in the hand and offers a tactile, intuitive experience, the X-T5 delivers in spades. With dedicated dials for ISO and shutter speed, paired with aperture rings on most Fujifilm lenses, the X-T5 offers a real sense of control. It’s a photographer’s camera in the truest sense — one that encourages intentional shooting rather than screen tapping and menu diving.

And unlike some other “retro” attempts, this one works. The X-T5, nails the ergonomics. It’s light — lighter than the X-T4 — and features my favorite Fuji LCD: a 3-way tilt screen that works beautifully for waist-level and portrait shooting alike. If you’re curious how the X-T5 compares to Fuji’s other retro favorite, the X100VI, I break it down fully here and if you want to see how the X-T5 compares against Nikon’s Z6III see this article.

Key Specs and Features

• 40MP APS-C X-Trans V BSI CMOS sensor
• EVF: 3.69M-dot OLED, 0.8x magnification, 100 fps refresh rate
• Weather-sealed magnesium alloy body
• Dual UHS-II SD card slots
• IBIS rated up to 7 stops
• Battery life: approx. 580 shots (CIPA)

The EVF is bright and sharp, though it’s not quite as nice as the one on the OM-1 Mark II. Still, it’s perfectly usable for critical focus and composition in any lighting condition.

Autofocus is a bit of a hot topic. Is it class-leading? No. Sony, Canon, and Nikon’s latest offerings edge it out. But the YouTube derision often feels overstated. I’ve used it for family photography and street shooting — two very different, often demanding scenarios — and had no issue getting sharp, consistent results. The key with the X-T5 is learning how to get the best from it. (If you want to skip the guesswork, you can download my X-T5 settings file — the exact one I use every day.)

Image Quality, Lenses, and Everyday Use

That 40MP sensor is a decent upgrade over previous Fuji models, and it outperforms the OM-1 II in both low light and skin tone rendering. It’s not a huge gulf — I’d estimate maybe two-thirds of a stop — but it’s noticeable, especially when shooting wide open.

Where Fuji really wins is in lens selection. You’ve got it all:

• Tiny weather-sealed primes like the 23mm, 35mm, and 50mm f/2
• Gorgeous f/1.4 and f/1.2 pro-level glass
• Pancakes for travel
• Versatile compact zooms
• And of course, the pro-grade zooms if that’s your thing

This system is a dream for photographers who want to build a lightweight, high-performance kit — whether you’re documenting everyday life or traveling with your family.

Minor Gripes? Sure — But Very Minor

• The grip is small. I solved that with a SmallRig L Grip, and it now feels just right. All the best accessories for the Fuji X-T5 are in this article.
• It’s weather-sealed, but I trust it less in tropical downpours than the OM-1 II. That said, I shot street photography with it in the UK during constant drizzle and it never missed a beat.
• Eye-AF occasionally locks onto the wrong thing — but that’s par for the course with most systems outside the Sony realm.

If you want to save a bit of money, check out the X-S20 or the more recently released X-T50. But honestly, if you can stretch to the X-T5, you’re getting excellent value and access to a world-class lens ecosystem — all in a body that’s a pleasure to shoot with.

Buy the Fujifilm X-T5 if…

Panasonic S5II / S5IIX — Best Camera for Video / Hybrid Shooting

Ok, you knew it was coming — we’re now getting into full-frame territory, the holy grail of YouTube land. But my first pick might surprise you. The Panasonic S5II (and its sibling, the S5IIX if you want even better video features) is my choice here for a general-purpose full-frame camera that gives you a fantastic 24MP sensor with great low light performance.

The beautiful color from Panasonic cameras is often understated — I’d put them right up there with the best. And for the first time, Panasonic ditched their old contrast-detect “Depth from Defocus” system and gave us phase detection autofocus. Finally. It’s a huge improvement — fast, sticky, and reliable for all general photography needs.

You get:

• Dual card slots
• Excellent ergonomics
• A rugged, weather-sealed build
• Light weight for full-frame
• Logical, well-laid-out menus
• Buttons where they should be (which is rarer than you’d think)

Even the kit lens strategy is smart — the 20–60mm, 50mm f/1.8, and 85mm f/1.8 all use the same filter thread, which makes your life a lot easier when using ND filters or polarizers. No messing with step-up rings.

The lens lineup is also filling out really nicely, with both Panasonic and Sigma contributing to the L-mount system.

IBIS and Stabilization

The In-Body Image Stabilization (IBIS) is among the best in full-frame, especially for video — but even for stills, it’s impressive. I can handhold shots at 1/2 second or longer with the 20–60mm lens and still get sharp images. That opens up a lot of creative flexibility when light is low but you don’t want to raise ISO.

Image Quality and Value

This 24MP full-frame sensor is no slouch. It delivers clean files, great dynamic range, and excellent color. The EVF is decent (3.68M-dot resolution) — not class-leading, but totally usable. Where the S5II really shines is value. The deal I got last year with the 20–60mm and 50mm f/1.8 almost made me feel guilty. Panasonic threw in the 50mm for free — and it wasn’t even the best deal I saw. A couple of weeks earlier, the 85mm f/1.8 was bundled in too at an unbelievable price.

Panasonic recently launched the S1 Mark II, which has a stacked 24MP sensor and better video specs — but it’s nearly double the price, and unless you absolutely need what it offers, it’s not worth it for general photography. You could buy the S5II and build an entire lens kit for less than the price of the S1 II body alone.

Where It Falls Short

There are a few quirks:
• Startup time is slow. Like… “Did I turn it on?” slow.
• Playback lag — Press the button, wait, then press again because you thought it didn’t register… now you’re in and out of playback mode.
• Battery life is the weakest on this list. I get around 300 shots per charge, and it can drop from 30% to 0% worryingly fast. Still, third-party batteries are cheap, and you can charge or power it via USB-C.
• AF interface — It works well, but Panasonic’s eye AF uses weird crosshairs instead of a proper focus box. Not a dealbreaker, just not my favorite.

A Word on Video and the S5IIX

I own the S5IIX, which leans more toward video shooters. It offers:
• Internal ProRes recording (up to 5.8K)
• External RAW over HDMI
• All-Intra recording and expanded codec support
• Unlimited recording times thanks to its built-in fan
• Direct recording to SSD over USB-C

That last one is seriously useful — you can plug in a portable SSD and shoot directly to it, skipping SD cards entirely. The fan system also means longer recording times without overheating.

But if photography is your main focus, go for the regular S5II and save yourself some money. The core experience is identical for stills.

Buy the Panasonic S5II if…

Nikon Z6III – Best Everyday Camera

A Comfortable, Capable, All-Round Hybrid That Feels “Right”

I shot with the Nikon Z6III in the Philippines for months and continue to use it now that I’ve moved to the Scottish Highlands. It’s a camera that with a few key accessories and the right setup just lets you get on with the job. For a lot of people it can make more sense than the Z8 as I found when I compared them as it offers a lot of the benefits such as excellent handling, autofocus and image quality while being cheaper and lighter.

Specs at a glance:

• 24.5 MP partially‑stacked full‑frame CMOS sensor
• EXPEED 7 processor
• Burst: up to 14 fps mechanical, 20 fps electronic (10 MP crop possible up to 120 fps)
• IBIS rated at 8 stops, with Focus‑Point VR enhancement
• EVF: 5.76M‑dot, 0.8× magnification, 4000 nits brightness
• Articulating touchscreen LCD (~2.1M dots)
• Dual memory slots (SD + CFexpress/XQD)
• ISO range 64–64,000 native, expandable to 204,800
• 6K internal RAW video up to 60 fps, 4K up to 120 fps in crop mode, ProRes/N‑RAW support

⸻

Comfort & Feel

In terms of ergonomics — this is one of the most comfortable full-frame bodies I’ve handled, beaten only by the Nikon Z8 thanks to its slightly larger grip giving more room for my pinky finger. Nikon just “gets it” — the grip fits, buttons fall where they should, and the power switch around the shutter button is ideal for quickly turning the camera on when you need to grab a shot.

Image Quality & Color

Image quality from the Z6 III is outstanding, particularly for skin tone and color rendering — Nikon Z files are my favorite among full-frame cameras. The 24 MP sensor produces punchy yet natural colors and beautifully rich black‑and‑white tonal transitions.

You’ll see charts show slightly reduced dynamic range vs the Z6 II, but in real-world use I wasn’t held back by it in my testing — even in tricky contrast scenes.

Autofocus, IBIS & Performance

Autofocus performance is genuinely fast — I find it on par with the A7 IV, and definitely not a laggard in typical family or street shooting. Burst rates of 14 fps (mechanical) and 20 fps (electronic) give you access to Nikon’s 3D tracking in most real‑world situations .

IBIS is rated at 8 stops and works with Focus‑Point VR (which prioritizes stability at your selected autofocus point). It handles handheld very well, even with heavier lenses or slower shutter speeds until about 1/4 or 1/2 second .

The EVF is sharp and bright, and the articulated touchscreen is easy to use for awkward angles or portrait orientation.

Lens Ecosystem & Usability

Nikon’s Z-mount lens lineup is one of the best in the business. The f/2.8 zoom trio is excellent — sharp, well-built, and surprisingly lightweight. I spent time using them a few years ago for some landscape photography in the UK. The 1.8 primes (especially the 50 mm and 35mm ) are on par with many manufacturers’ 1.2–1.4 lenses in optical quality. Nikon’s treated their mid-range glass like pro gear, and it shows. I recently compared the Nikon Z 35mm 1.8 vs 50mm 1.8 to see which one you should buy and have a full review of the 85mm 1.8 too.

Battery Life & Handling

Battery life on the EN-EL15c is excellent — I routinely get more than a day’s shooting out of one charge, and USB‑C charging means you can top up in the field if needed. The camera is responsive and fast — no laggy menus or start-up delays like on the S5 II.

Real Drawbacks?

Honestly, there’s little worth complaining about here:
• Slight dynamic range dip vs Z6 II? Academic in my experience.
• It’s a few grams heavier than the S5 II but still lighter than the Z8.

In short: unless you need the extra resolution, faster burst, or more rugged pro build, the Z6 III is the smart buy. It gives you nearly everything the Z8 offers — for significantly less money. For a full comparison my Z8 vs Z6III article goes in to much more detail.

Buy the Nikon Z6III if…

Nikon Zf — Best Retro Camera

The Nikon Zf shows Nikon leaning into something more tactile and experience-driven — and it largely works. Underneath the retro exterior is thoroughly modern Nikon performance, powered by the same EXPEED 7 processor found in the Z6III and Z8. As a result, the Zf never feels slow or compromised in real use.

Image quality is superb. You get the rich colour, strong dynamic range, and pleasing tonality that Nikon does so well, with files that are flexible and easy to work with, as I found out in my full Nikon Zf review. For stills photography in particular, the output is excellent. Autofocus performance is also right up there — fast, reliable, and more than capable of keeping up with family, street, and everyday photography. In terms of responsiveness and general camera speed, it feels much closer to the Z6III than its styling might suggest.

Where the Zf stands apart is in how it encourages you to shoot. The physical dials invite a slower, more deliberate approach — setting exposure consciously and engaging more with the process. It’s a camera that prioritises the enjoyment of shooting as much as the final result, and that will really appeal to some photographers.

There are a few practical caveats to be aware of. For all-day comfort, the Zf really benefits from adding either a grip or a good strap — without one, the body can feel a little tiring over long sessions. The fully articulating rear screen is versatile, but I personally prefer the three-way tilt screens found on the Fujifilm X-T5 and Nikon Z8 for stills photography. And while dual card slots are welcome, the backup slot uses microSD, which isn’t ideal compared to full-size SD cards.

None of these are deal-breakers, but they are worth factoring in.

Who Is the Zf For?

The Zf makes the most sense if you want modern Nikon image quality and performance in a body that feels more engaging and characterful. It’s less about being the most versatile tool and more about enjoying the act of photography itself. Just be sure to pair it with the right lenses such as the 40mm f/2 SE to get the best experience. It also makes an ideal camera for family photography.

Buy the Nikon Zf if…

• You want excellent Nikon full-frame image quality in a design-led body
• You value a tactile, dial-based shooting experience
• You mainly shoot stills and don’t need a pure hybrid workhorse
• You’re happy to add a grip or strap for better all-day comfort

If you want the most balanced all-round Nikon at this level, the Z6III remains the smarter choice. If you want Nikon’s strongest photographic tool overall, the Z8 clearly sits above both. But if you’re looking for something that’s genuinely fun to shoot — without sacrificing image quality or performance — the Zf fits that role very well.

Sony A7 IV/A7V – Best Camera for Wedding Photography

With the release of the Sony A7V not really offering huge improvements over its predecessor, the A7IV remains a very viable option in 2026. The Sony A7IV is a camera I owned for over a year, and it’s one I have a lot of respect for. It offers a superb 33MP full-frame sensor that delivers a slight bump in resolution over other full-frame options on this list, without sacrificing anything in low light. ISO 12,800 is clean and very usable.

Sony made some nice ergonomic improvements over the A7 III, with larger, better-placed buttons and a more refined feel in the hand — though I’ll come back to that. I really liked how customizable the camera was. You can map pretty much any AF mode to any button, which gives you incredible flexibility. I often had different AF modes set to back buttons so I could instantly switch from subject tracking to single point or zone — something very few cameras let you do this seamlessly.

The EVF is solid, if not class-leading, at 3.69 million dots. The fully articulating screen isn’t my favorite for photography, but it’s fine and obviously helpful if you’re also planning to shoot video.

Autofocus

This is where the A7 IV still feels like cheating. It’s absurdly good. It tracks eyes, heads, bodies, animals, birds, insects, probably ghosts if you try hard enough. It’s so intuitive that it feels like it knows what you’re trying to do, and it almost never misses. And if it does, one tap and you’re in a different mode. It’s fast, smart, and frankly, kind of magical. The A7R V may have improved it further, but for most people, the A7 IV is already top-tier. The A7V has improved on this again so if you want the absolute best auto focus then that’s the model to go for.

It’s got dual card slots — one of which can take CFexpress Type A cards if you’re willing to splash out — and decent weather sealing. Build quality is solid. But now let’s talk about the bit that bothered me…

The body. For me, it’s the least comfortable of any camera on this list. I shot a wedding using two A7 IVs, and by the end of the day, the right edge of the grip was digging into my palm so much that it was borderline painful. And this wasn’t a one-off — I felt it again on long street photography days.

IBIS? It’s okay. Definitely the weakest here. I’d say I got 3–4 stops of compensation, which isn’t bad, but it’s not in the same league as OM Systems, Nikon, or Panasonic. Thankfully, the excellent high ISO performance means you’re rarely stuck.

The Sony lens ecosystem is the strongest around, no question. With Sony’s own lineup plus Sigma, Tamron, and others, you can build almost any kit you can dream of. The 35mm f/1.4 GM is a standout lens — brilliant image quality and surprisingly compact. You’ve also got exotic options like the 50mm f/1.2 GM if you want to go all in, or great value choices like the 35mm and 85mm f/1.8, which offer solid performance in a lightweight package. That said, I do think Nikon’s 1.8 primes feel higher-end in terms of build and rendering.

So, why did I sell mine?

A few reasons. I didn’t like the color science as much — it’s very personal, but I always found myself spending more time editing Sony files. I never really bonded with the ergonomics. And — here’s the petty one — I hated the shutter sound. Big, clunky, not satisfying. Sounds silly, I know, but when you shoot as much as I do, it matters.

Ultimately, I had to streamline my gear to what I truly enjoyed using most, and the Sony didn’t make the cut. But that doesn’t change the fact that the A7 IV is still one of the best value, well-rounded hybrid cameras you can buy in 2026. Incredible autofocus, excellent image quality, endless lens options, and strong video specs — including 4K 60 (albeit with a 1.5x crop). It’s a hell of a package.

You could, of course, move up to the A7R V if you wanted even more resolution, slightly better autofocus, and a much-improved EVF. But it’s a lot of money for upgrades that, for most photographers, you probably won’t actually notice in real-world use. The EVF might be the one exception — it’s a real step up. But otherwise, unless you know exactly what you’re looking for and need the extras the A7R V brings, the A7 IV remains the smarter, more balanced choice for most people.

Buy the Sony A7IV if…

Nikon Z8 – Best Camera Overall

There is nothing that the Nikon Z8 cannot do well. It’s an incredible landscape camera with some of the best full frame image quality available, it works superbly for wildlife photography thanks to its subject detection and fast Af (which Nikon keep improving via firmware). It can shoot people, planes, architecture , products (although check the flash sync speed issue if that’s your thing thanks to its lack of a physical shutter) and everything in between.

I’ve owned my Nikon Z8 for a while now and the more I shoot with it, the more I realise just how good it is.. With a 47mp full frame sensor and a base ISO of 64, it offers what is probably the best image quality available in full frame right now. The tonality out of the Z8 files, especially at base ISO, honestly puts it very close to my GFX100S, especially for landscapes.

The build quality is superb with a really rugged feel and great ergonomics with every button in the right place. Those buttons are backlit too so if you shoot at night you can actually see what you’re doing. It has a bigger top LCD screen than the Z6III and I prefer the 3-way tilt screen for stills photography. Fast burst rates and even better autofocus than the Z6III make it more reliable when you need to nail a certain shot which is why I use it for my wildlife photography.

It’s cheaper than the Canon R5II or Sony A1 series (by a long way), yet it performs at the same level. The Z8 is fast becoming my favourite camera now that I’m in Scotland, where I use it for everything from landscapes to wildlife photography, testing its excellent weather sealing to the limits.

Specs at a glance:

• 45.7MP full-frame sensor (stacked)
• Base ISO 64
• 20fps RAW / 30fps JPEG / 120fps 11MP
• 493-point AF with subject detection
• 8K/60p N-RAW or 4K/120p
• 5-axis IBIS
• Dual CFexpress Type B + SD card slots
• 3.2″ 4-axis tilting touchscreen
• Backlit buttons + top LCD
• IP-rated weather sealing

Image Quality

The Z8’s image quality is a standout reason to buy it. Base ISO 64 gives you medium-format-like latitude with beautiful tonality, rich shadow detail and incredibly clean files. For landscape or travel photographers who value dynamic range, it’s arguably the best full-frame sensor on the market.

Autofocus & Performance

Nikon’s subject detection on the Z8 is extremely reliable and feels more confident than the Z6III when tracking fast-moving subjects. The stacked sensor eliminates rolling shutter, the blackout-free shooting feels instantaneous, and the 20fps RAW burst rate means you never miss a moment. For action, wildlife or events, it’s a workhorse.

Build Quality & Handling

This feels like a mini Z9 — which is a good thing. The camera is solid, weather sealed and reassuring in the hand. The backlit buttons are a huge benefit for night photography or low-light shooting, and Nikon’s ergonomics remain among the best in the industry. The tilt screen is great for stills photography and I much prefer it over the fully articulating screen of the Nikon Z6III.

Lens Ecosystem

The Z system has one of the strongest lens lineups on the market. The 20mm, 35mm, 50mm and 85mm f/1.8 S primes are incredible and great value, while there are great zoom options including the best 24-70mm f/2.8 lens I’ve ever used. If you are a wildlife photographer than Nikon’s Z lineup of telephoto lenses has every Canon and Sony shooter a little green with envy. Lenses like the 400mm f/4.5, 600mm f/6.3 and 800mm f/6.3 come in much smaller, lighter and cheaper than most other brands.

Drawbacks?

The main compromise is the overall size compared to cameras like the X-T5 or OM-1. It’s a serious tool, not a compact one — but that’s why it feels so good in the hand. My only other gripe is that I wish Nikon would improve their custom memory banks setup as it’s not the easiest to work with.

Buy the Nikon Z8 if…

Also read: Best accessories for the Nikon Z8 and Nikon Z6III vs Z8

Fujifilm GFX100S II – Best Camera for Landscape Photography

The Fujifilm GFX100S II is the camera I would choose today if landscape photography were my main focus. Its 102-megapixel medium format sensor delivers extraordinary detail, colour depth and tonal range, especially at base ISO. For photographers who print large or want the maximum amount of information in their files, it sits comfortably above full-frame options.

What makes the GFX100S II particularly appealing is that it brings medium-format image quality into a body that is still practical to carry. It’s smaller, lighter and far more affordable than the traditional medium-format systems landscape photographers used to rely on.

For some, a full-frame camera like the Nikon Z8 or an APS-C Fujifilm X-T5 may make more practical sense. But if the goal is maximum image quality for landscapes, the GFX100S II is the best camera available. I personally own the original GFX100S and although the improvements in the mark II were not groundbreaking, all the small improvements such as better autofocus and speed do add up. In terms of image quality, there is nothing between the two cameras and I’m still blown away everytime I look at the 100mp files it produces. The GF lenses are also some of the sharpest I’ve ever used but they don’t come cheap.

Final Thoughts

All of the cameras I’ve mentioned here are ones I own or have owned. I haven’t pulled anything from spec sheets or theory — just real-world use and what I think are the best cameras right now in 2026.

For 99% of people, they’re more than enough. They’re fast, reliable, and capable of producing images that will outlive the gear itself.

I’ve reviewed the real travel performance of these systems across full articles — the links below let you dive deeper into the cameras and lenses mentioned.

FAQ

What is the best camera overall in 2026?

For me, the Nikon Z8 is the best camera overall in 2026. It combines exceptional image quality, fast and reliable autofocus, pro-level build quality, strong video features, and one of the best lens ecosystems available. It’s the camera on this list that does the widest range of jobs at the highest level.

Do I really need a flagship camera to take professional-quality photos?

No. A flagship camera can make some things easier, especially autofocus, speed, durability, and buffer depth, but image quality has been good enough for professional results for a long time now. For most photographers, the best camera is the one that fits their style, budget, and the kind of work they actually do.

What’s the best everyday camera on this list?

The Nikon Z6III is the best everyday camera here. It offers excellent ergonomics, strong autofocus, very good image quality, and a more manageable size and price than the Nikon Z8. For a lot of photographers, it hits the sweet spot.

What’s the best camera here for travel photography?

The Fujifilm X-T5 is my top travel photography pick. It gives you excellent image quality, a lighter and smaller system than most full-frame options, and access to a superb range of compact lenses. It’s one of the easiest cameras here to actually want to carry all day.

What’s the best camera here for wildlife photography?

The Nikon Z8 is the strongest wildlife camera on this list thanks to its stacked sensor, excellent subject detection, fast burst shooting, and access to Nikon’s outstanding telephoto lenses. If you want something smaller and lighter, the OM System OM-1 Mark II is an excellent runner-up.

Which camera here is best for landscape photography?

For pure landscape photography, the Fujifilm GFX100S II is the strongest option here thanks to its 102MP medium format sensor, huge detail, and excellent tonal depth. If you want something lighter and more flexible for travel as well, the Nikon Z8 or Fujifilm X-T5 make more practical sense.

Which camera is best if I also shoot a lot of video?

The Panasonic S5II and S5IIX are the standout hybrid and video-focused options here. They offer strong stabilisation, very capable video features, solid image quality, and excellent value. If you want a more photo-first camera that still handles video very well, the Nikon Z6III is also a strong choice.

Is the Nikon Zf actually a good camera, or is it mostly about the look?

It’s genuinely a very good camera. You’re getting modern Nikon autofocus, excellent image quality, and strong overall performance in a body that feels more tactile and enjoyable to use. The main compromises are comfort without a grip, the fully articulating screen, and the microSD backup slot.

What’s the best camera here for wedding photography?

The Sony A7 IV remains one of the strongest choices for wedding photography thanks to its excellent autofocus, strong low-light performance, dual card slots, and huge lens selection. It’s a very dependable tool for fast-moving people photography.

If I were starting from scratch, what would I personally choose?

If I were starting from scratch and wanted the camera I’d enjoy carrying most, I’d go for the Fujifilm X-T5. It offers a great balance of size, image quality, lens choice, and shooting experience. If I wanted one camera to cover the widest possible range of work at the highest level, I’d choose the Nikon Z8.

Firstly let me say that all the specs are available online so I’m not going to go through them all here. I’ll just talk about those that mattered to me for the project that I have planned. Those being image quality, AF, handling and performance.

While the GX9 and EM5 III uses a 20mp Micro 43 sensor the Fuji XT30 makes use of the larger 26mp APS-C sensor found in the XT3 so it should be a no brainer that the image coming out of the Fuji is better and it performs better when pushing your ISO higher. The thing is that when reading forums on the internet they would lead you to believe that the difference is night and day and this simply is not the case. Yes the Fuji is slightly better once you get up to 3200+ ISO but the differences wont be enough to make or break an image. For me the more interesting question was about the colour each camera produced and I was particularly interested in the Acros black and white profile of the XT30 as a lot of my project will be shot in black and white. Quite frankly I chose the XT30 as one of the most affordable ways to get the Acros profile.  In my opinion the image quality produced by all the cameras is good enough for what I had in mind.

Fuji are heralded within the media for being excellent for portraits, skin tones and the Acros profile and in a lot of situations I know why. I love the organic look of the colours coming off the X-Trans sensor and under the right lighting conditions the Acros profile produces some beautiful black and white images. However sometimes the colours can feel just a little flat while the Panasonic and Olympus in my opinion actually produce more pleasing colours more of the time. I am a big fan of the colours that both Panasonic and Olympus cameras put out SOOC. For me they win when shooting colour images but the Fuji does well for black and white work. This is why I bought an XT 30 just for this project. However I like the Fuji and Panasonic black and white rendering equally and it really depends upon the subject and light as to which is better in a given situation.

In terms of handling all the cameras are small, lightweight and discreet. They are quick in use and it is easy to quickly change settings on them. I prefer that the Olympus has a separate door for memory cards and I still prefer the PASM system employed by virtually every camera manufacturer rather than the separate dials for shutter speed employed by Fuji. (note the XT30 has a shutter speed dial which when using most Fuji lenses combines with the Aperture ring to give control over exposure). The XT30 does not have and ISO dial unlike its big brother the XT3.

All the cameras feel well built although I’d have to give the nod to the GX9 and Em5III (although I have heard issues reported around the strength of the tripod plate on the EM5II) as they just feel a little higher quality finish and of course the Em5III is weather sealed.

I had fully expected to love the little Fuji XT30 but there were 2 major issues for me once I had a little time with the camera. Firstly, I wanted to shoot the 35mm 1.4 and 56mm 1.2 for my project and quite frankly the AF motors on these lenses still proved to be pretty poor. I had hoped that with the latest generation of camera bodies the AF when using these lenses would have improved but unfortunately (and this is no fault of the XT30’s) it hasn’t. Now I know that a lot of Fuji users love these lenses and in terms of their image quality, yes they are gems but the problem I had while testing the gear out (on not very trying subjects) was that it took multiple shot to get perfect focus. No, it wasn’t a bad copy of the lens, this is exactly how I remember my previous version being as well. I guess it is my own fault for hoping for an improvement that simply can’t be provided by a newer camera. These lenses desperately need updating and I really hope Fuji is working on this as their more modern lenses perform much faster. However it is these lenses that I particularly wanted to use. I’m not interested in the f/2 primes as I’m giving up some of the benefits of that APS-C sensor when shooting with them. In all honesty I like the ergonomics and handling of the EM5 III the most, so unless the XT30 is going to give me tangible benefits (which it would if these lenses auto focussed quickly enough) over it then I’m not going to choose it. The EM5 III is simply more fun and gives me more confidence that I can nail the focus every time.

While the Fuji XT-30 does offer slightly improved High ISO performance the differences are minimal and I’d still place my limit of acceptable IQ for portraits at ISO 3200, exactly the same as the Micro 43 cameras.

The second major issue (and one which even had me and my wife spend and evening trying to figure out) was the Fuji App to transfer images to your mobile device. I have used this app before, along with the ones form every other major camera manufacturer (except Canon). The best ones are from Olympus and Panasonic, Sony’s is fine too and Nikon’s although temperamental usually works. Well this Fuji App is a complete and utter bag of S**t. I spent hours trying to get it to connect to my phone, my wifes phone, my tablet and in the end gave up. When I’m out in the middle of nowhere taking photos and I want to quickly transfer some images then this is a big no no for Fuji. I didn’t previously have this issue when I owned the XT2 so I can only assume that the updated app is either useless, has compatibility issues or it’s the XT30’s fault. Either way in the end no matter how beautiful the Acros black and white images were, far too many were out of focus and when they were in focus the app made viewing them on my mobile device impossible. The Fuji is sadly out of the race and has been sent back.. As you saw in my Olympus OMD EM5 III Review this camera does everything that 90% of people will need it to do with no fuss. It makes photography easy and fun and dare I say it, quite cool too.

However I already own the Panasonic GX9 and a GH5 so is the Olympus at approximatley £1000 twice as good as the Panasonic GX9 which can be had for under £500 (as of early 2020)?

In the Olympus’ favour it has slightly better IBIS, is weather sealed, has a better viewfinder and offers Hi Res mode as well as the useful long exposure modes such as Live Bulb and Live view. In the Panasonic’s favour for me is the fact that it uses the same menu system and has the same colour profile as my existing GH5 and so using the two together would be a more seemless experience and mean my lazy ass doesn’t have to memorise two menu systems. It is of course half the price.

When I wrote my Olympus EM5III review it was before the Coronoavirus Pandemic had really hit the UK hard. Money and business was quite good and I could afford the additional cost of the EM5III over the GX9. However as I sit here writing this (early April) the UK economy has basically shut down, business has dried up and I am now putting a much higher priority on bang for buck to ensure that I get the most out of any investment that I make in to a camera or system. This puts cost way higher up my list of priorities than would previously have been the case and I’m sure like many photographers out there I am now really asking myself the question, do I honestly need these extra features and are they really going to make a difference to my work and earning potential.

For me, in the end it comes down to the image I can produce. Yes it is nice to have the better viewfinder but the one in the GX9 does not hinder me from getting the shot. I also quite like the tilt mechanism on it. Yes, hi res mode would be nice to have and I can see myself using it quite a lot for landscapes but the projects that I have lined up will be fine with 20mp of resolution. Am I going to suddenly start doing a lot of long exposure photography to make use of live bulb and live view…..If I’m bluntly honest with myself then no, that just isn’t going to happen.

Does my camera need to be weather sealed? Well a lot of us like to kid ourselves that a certain specification is an absolute must. I hear people all the time saying that weather sealing is absolutely essential. I don’t buy it for the most part. I used to live in the Outer hebrides, a place where the weather could not be more challenging to a photographer. My cameras back then didn’t offer top notch weather sealing and you know what I did when the heavens opened… I popped my camera back in my camera bag and waited for the torrential wind blasted downpour to pass. Just before and just after the storm is the best time to photograph anyway not during it. Even if the cameras were weather sealed like a tank the front element of the lens woud be covered in rain and ruin any image. The philippinnes, just like the Outer Hebrides is prone to sudden torrential downpours but for the subjects that I plan on shooting it is irrelevant as I doubt many portrait subjects will be willing to stand out in the rain while I photograph them. Long story short, weather sealing is nice to have but not essential for me.

Both the GX9 and EM5 III have fast enough AF speed for my needs. Yes the Olympus may be a little better at tracking thanks to its phase detect Af points but it doesn’t make a difference for what I shoot as the GX9 is quick to focus and has decent face and eye detect AF.

Conclusion

The crux of the matter comes down to which camera offers the features that I need in the cheapest package and this is where the GX9 delivers in spades. IMO it is probably the best value camera in the photographic universe at the moment.

In terms of output it is virtually identical to the Olympus EM5 III however it actually bests it in my opinion in one area that is vital to my project. The black and white profiles of the latest generation of Panasonic cameras and in particular L Monochrome D is just about my favourite black and white profile of any camera.

Despite wanting the Fuji XT30’s black and white output the |fuji sytem currently has too many compromises to work for me (Slow AF, No IBIS, Poor Wifi App, No PASM). Despite quite liking a lot of the EM5III features I don’t really need them. My Panasonic GX9 takes beautiful black and white images (particularly in the L Mono and L Mono D profile) and offers everything that I need in a small lightweight package. It doesn’t hurt that it looks beautiful too. So I’ll be using it alongside my GH5 for my projects this year.

Last Updated October 23, 2025:
I recently noticed this older post still getting traffic, so I thought it deserved a refresh — especially since it was first published back in January 2018. I still shoot with Olympus (now OM System) as one of my main setups, and despite today’s full-frame obsession, I continue to rate it very highly — particularly for travel photography.

While both of these cameras are now considered “old,” don’t let that put you off finding a used bargain. They remain perfectly capable of producing excellent images, even if they lack the bells and whistles of modern bodies.

Since writing the original version, I’ve owned every E-M1 and OM-1 series camera, and they’ve improved dramatically over the years. I’ve also owned the GH6 and GH7 — and in my opinion, for photographers, the GH5 still stands as the pinnacle of the GH line.

Intro

In this article I am going to compare the Olympus OMD EM1 Mark II vs the Panasonic GH5. I own both of these top of the range Micro 4/3 cameras.

I have been using them for a few months now with a variety of different lenses and for different types of photography including landscapes, portraits and travel.

There are loads of comparisons on line that deal with the video side of things far better than I ever could as a primarily stills photographer. However despite the often stated presumption of using Olympus for stills and Panasonic for video I thought it would make an interesting comparison to see if this still holds true with these two flagship Micro 4/3 cameras.

Specifications at a glance

So let’s get straight into the comparison by looking firstly at the specs and then on to ergonomics and handling.

• Both have the latest 20mp Micro 4/3 sensors
• Both shoot 4k video although the GH5 has many more options including super slow motion full HD at 180fps as well as higher bit rates.
• The EM1 II has a 3 inch touch screen LCD and 2.36 million dot viewfinder
• The GH5 has a larger 3.2 inch touch screen LCD and 3.6 million dot viewfinder
• Both are weather sealed down to -10c
• The Olympus can shoot at up to 60 fps with the electronic shutter and 15 FPS with the mechanical shutter
• The GH5 shoots at 11 FPS
• Both have in-body 5 axis image stabilisation
• Both have a variety of shooting modes including time-lapse, HDR and focus bracketing

So let’s look a little bit beyond the specs and see what the cameras are actually like to handle.

Handling and Ergonomics

First up the Panasonic GH5 is 139x98x87mm and weighs 725g with the battery in. I might note it’s the same battery as the GH4 which is great if you already own some. Compare this with its predecessor the GH4 at 133x93x84mm and with a weight of 560g with battery and you can see that the GH5 has put on a considerable amount of weight and some heft too. Where I really notice this most is in the depth of the grip. It is very comfortable but I have to be honest and say I prefer the GH4’s grip.

The Olympus OMD EM1 mark II is slightly larger than its predecessor at 134x91x69mm and lighter too at 574g but still feels svelt in comparison to the GH5.

Both cameras feel great in the hand and are very comfortable to hold, even with larger lenses attached. However the GH5 is starting to feel quite large for a Micro 4/3 body. A lot of people (myself included) use this system for its light weight and portability.

I personally prefer the size and weight of the Olympus OMD EM1 Mark II. When I had both cameras on me in Asia recently I found myself gravitating towards the Olympus when given a choice. It was the one I naturally reached for out of the two. The reason is not just the size and weight but the fact that I also find the grip more comfortable. The grip on the GH5 is just a little too deep and results in your hand feeling the strain on extended use.

Controls and Menus

In terms of controls, both of these cameras are incredibly customisable. You can set them up virtually as you want. However one of the benefits of the larger body on the GH5 is more function buttons and more direct access buttons to things like ISO, white balance and exposure compensation. If you are used to the direct controls of a DSLR then the GH5 will feel more natural to you.

The Olympus takes a little more setting up initially but once you have set it up to your liking then you rarely have to delve in to the menu system during everyday shooting. The Panasonic just make sense and is very logical and intuitve in its control layout. I really can’t find fault with it. Picking it up for the first time everything was just where I would expect it to be and using it comes very naturally to me.

As for the menu systems themselves, the GH5’s menu is a little better set out and more intuitive to use thanks to a simple layout and straight forward logical ordering. The Olympus on the other hand does take a little getting used to with some odd naming of items such as noise reduction being called the noise filter etc. However once you are used to it then even the Olympus is quick and easy to navigate through. Top marks to Panasonic here though as I feel their menu system is one of the best available and having used loads of different cameras I find that everything is where I would expect it to be.

One new addition for the Panasonic GH5 is the AF joystick which has been added to the back of the camera. This allows direct access to change your AF point and it is a joy to use. Not only does it enable you to change your AF point more quickly but when clicked it also returns the AF point to home (default is centre point). Panasonic have implemented this brilliantly. There is also a switch which lets you quickly flick between AF-S, AF-C and manual focus.

The Olympus on the other hand relies on the D-Pad and while it is quick to use I do prefer the AF joystick of the GH5 and I’m sure most people would too.

Image Stabilisation

One of the big new additions to the Panasonic GH5 over the Gh4 is in body image stabilisation. Traditionally this has always been one of the big advantages that Olympus had over Panasonic.

However now that Panasonic have added this to the GH5 it really is a great improvement. Not only does it allow you to handhold shots at much lower shutter speeds enabling you to use a lower ISO but I also find it results in a much higher keeper rate for virtually all photos that you take.

So how does the image stabilisation compare between these two models.

Olympus claims 5.5 stops of stabilisation on the EM1 Mark II and Panasonic claims 5 stops on the GH5.

In my testing I found that I could comfortably handhold the Olympus at shutter speeds as low as 1-2 seconds at 12mm and still consistently get tack sharp images. Some even claim shutter speeds as low as 10 seconds are possible but I think that is a bit hit and miss and requires propping yourself up against a wall or tree to try and minimise any movement in your body.

With the GH5 I was able to consistently get tack sharp images at 1/3 second at 12mm on the Olympus 12-40mm f/2.8 Pro lens ( see my review of the Olympus 12-40mm f/2.8 Pro lens here ). So while the Olympus does still hold an advantage in this area the Panasonic certainly puts up a respectable fight.

Auto Focus, Burst rates and action

Both of these cameras are built for speed.

The Olympus boasts an incredible 60 fps burst rate  (single AF only) and 18 FPS with C-AF with the electronic shutter . These drop down to 15 FPS (S-AF) and 10 FPS (C-AF) with the mechanical shutter.

The GH5 while not as fast still offers very reasonable rates of 12 FPS (S-AF) and 9FPS (C-AF). So if you actually ignore the headline grabbing rates of the Olympus and look at the most useful option which is C-AF with the mechanical shutter there is on 1 FPS difference between the two.

So how do these two cameras handle fast action. 

I’m going to say straight up here that I am not a fast action shooter. I do portraits, landscapes and travel photography. However just in my simple testing having models walk through the scene I found that the Olympus AF system copes better and gives a higher keeper rate than the GH5. Although the GH5 has more focus points at 225 vs Olympus’ 121, the EM1 II uses a hybrid system of phase detect and contrast detect points that seem better able to keep up with movement.

Panasonic’s Depth from Defocus contrast detect system struggles a little bit more when it comes to C-AF and tracking auto focus.

Olympus also captures images at any of its high frame rates in full raw resolution. Pro capture is a feature which will pre record 14 images and constantly hold them in the buffer. Then if you start shooting you will be able to select from those pre-recorded images. It allows you to capture shots where maybe your trigger finger wasn’t quite fast enough.

Panasonic on the other hand offers 6k photo mode which allows you to continuosly record at 30fps and then extract 18mp still images from the recording but only in Jpeg format.

If I’m honest I find the implementation of Panasonic’s 6k photo mode more useful than Olympus’ due to one factor. With the Olympus you have to trawl through and delete any images that you don’t want. With the Panasonic you still have to look through all the images but you can simply select the ones that you want to keep. That saves me having to constantly delete multiple photos. However I rarely find myself using either of these options as I prefer a more considered and slower paced approach to photography but I understand birders, wildlife and sports photographers would appreciate them. Basically you can choose between the Raw files of the Olympus or the Jpegs of the Panasonic.

Standard focus performance from both is excellent

When it comes down to what I use most which is S-AF in single shot mode both cameras are brilliant in good light. They lock on quickly and are incredibly accurate. When the light drops slightly the Olympus is a tad better but there really is not much in it.

One thing I did notice while testing the Olympus 25mm 1.2 Pro on the GH5 was that a strongly back-lit scene could throw the GH5 off and it would hunt or in some cases fail to focus altogether.

When it comes to how I use these cameras I would take both of them over a DSLR any day of the week because they  just focus much more accurately.

Let’s not forget that both offer face detection and eye detection which is so useful for portrait work. Both work well but I prefer Olympus’ implementation as it adds a square over the face and then a smaller one over whichever eye is in focus. Panasonic puts a square around the face but then has intersecting lines to show you which eye is in focus. It is not quite as intuitive as the EM1 II and on occasion the intersecting lines do not meet over an eye so I was unsure as to whether the eye was in focus or not.

Image Quality and Colour Science.

Both cameras are using the latest Micro 4/3 20mp sensors so they should be quite evenly matched. However there has always been a notion that you use Olympus for stills and Panasonic for video but does this still hold true with the latest generation of cameras.

In terms of IQ the two cameras are virtually identical, offering sharp detailed photos. The GH5 removes the AA filter but in practise I have not noticed this to offer any tangible benefit. Both cameras seem to resolve the same level of detail.

One area where there is a slight difference is that the Olympus offers an extended ISO setting of 64 compared to that of 100 with the GH5. This does allow the EM1 II to give incredibly clean results with none of the noise that used to be present at base ISO in clear skies. This is a big improvement for me personally with my landscape work.

In terms of high ISO performance the two cameras are very evenly matched offering very usable files even at 3200 ISO and even 6400 ISO if the photos are just for web use or small prints.

At up to 800 ISO images are very clean and retain detail. At 1600 ISO you can see a slight loss of detail but no noise. At 3200 ISO there is further loss of detail and some noise creeping in to the images. At 6400 ISO details become smeared and noise is quite visible.

One thing that I have seen is that the Panasonic GH5 seems to handle colour noise a little better than the Olympus EM1 II at higher ISO settings. At 3200 the Olympus sometimes shows some ugly colour noise in skin tones whereas the Panasonic doesn’t. This is in the Jpeg files but not present in the raw files so if you shoot raw then it is nothing to be concerned about. If you shoot jpeg it is worth being aware of.

The colours on the GH5 have been improved quite a lot and I particularly like their natural profile for almost all types of imagery. The L Mono setting also gives very nice high contrast black and white shots. The natural profile on the Olympus is still the one I go to for most images and of course you can tweak the black and white profile in both the highlights, shadows and mid-tones to get it exactly as you wish.

Dynamic range of the two cameras is essentially identical.

I’ll be adding some high ISO examples soon. Having just gone through all my photo from these two cameras I realised that I don’t have good test shots to share because I was using the Olympus 25mm 1.2 (see my review here )and Pana Leica 25mm 1.4 a lot of the time and that allowed me to keep my ISO to 1600 or below at all times while in Asia.

Olympus does have a trick up its sleeve to best the GH5 for stills imagery in the form of the Hi Res mode. This combines 8 images in camera using sensor shift technology to give one hi resolution image.

I have found that this worked better in the EM1 Mark II than on my old EM5 II. It deals with movement better. For instance it is usable for running water now. However movement in trees and grass etc can still leave issues in your images that means this mode is only really fully usable for things like product photography. Let’s hope Olympus can improve Hi Res mode further as it has so much potential.

To use Hi Res mode you have to have the camera locked down on a sturdy tripod. I use the Manfrotto 055 XPRO3 which is absolutely rock solid.

You also need to be using very sharp lenses to really take advantage of this and resolve all the detail.

Another area where the Olympus EM1 II has an advantage is in night photography. Live view, live boost and live composite really are very useful as they allow you to see the image on the LCD screen as it is being created. It gives you a live preview as the exposure is taking place so you know exactly when you have the correct exposure and can stop at the perfect time.

Conclusion

So which camera is the better one for stills photography?

If you are not going to take advantage of Hi Res mode, Live view, Live bulb and Live composite then at £1699 compared with £1849 the GH5 is surely the logical choice with its better viewfinder, LCD and far better video features. It definitely offers the better value and can keep up with the Olympus EM1 Mark II for general photography use.

However having said all that I still prefer the Olympus EM1 II and here is why.

I prefer the handling of the Olympus. I use Micro 4/3 to keep the size and weight of my kit small and light. The Panasonic GH5 is just a little too large for my liking and I prefer the grip on the Olympus which is more comfortable to hold all day long.

The GH5 does have good ergonomics and I particularly like the AF joystick and direct access to ISO via a dedicated button but I am quite happy using the D-pad to move AF points on the EM1 II and I can assign almost any button on the EM1 II to give me quick access to ISO. In all honesty if I am shooting in situations where the ISO needs changing quickly then I will have either camera set to auto ISO and set a maximum ISO and minimum shutter. If I want to set the ISO manually such as when shooting landscapes then quick access is not so vital and a quick press of the OK button and I am in to Olympus’ Super Control panel.

I find the auto focus on the Olympus just a touch more reliable in low light and I prefer their implementation of face detect AF. These two things can and did make the difference between me getting a candid shot of my daughter and not.

Lastly and this is a very subjective thing but I find the Olympus OMD EM1 II to be a beautiful camera and the finish in my opinion feels higher quality and more refined. It just works so well. In fact I would say that ergonomically it is the best camera that I have ever used and in the end this factor more than specs make me want to pick it up and take it with me everywhere.

So which one should you chose?

My brain finds it hard to recommend the Olympus OMD EM1 Mark II over the Panasonic GH5 at this time but my heart would chose the Olympus each and every time. However I will be keeping both as they are two of the best cameras available right now and whichever one you choose I’m sure you will be delighted.